3 new works with a strong sense of harmony and melody
British classical guitarist and composer Nick Fletcher has the rare ability to write interesting guitar music in any particular style he turns his hand to, whether it be Spanish, flamenco, South American, Latin, and so on.
The Sheffield-born Fletcher has produced a number of good pieces (and three CDs of his own material), and they often have something original and interesting to say, as well as being very satisfying pieces to play. In recent years, I have reviewed many of this guitarist's compositions and recordings, and can't think of one review that has been less than favorable. "The Vine" is a short, pleasant composition, this time written in a neo-Baroque fashion. It's in two parts, comprising a brief prelude followed by a lengthier allegro, both in A major. The 17th-century style is certainly well created-the work being reminiscent of a Bach Invention and the contrapuntal nature of the piece being reflected in the title. "The Vine" is part of a growing list of compositions under the collective banner of Fantasias written by Fletcher. Although perhaps too brief to be included as a single item in a recital, it could be linked together with others from his list of "fantasies" for a more substantial concert item for the intermediate player. "A Winter's Journey," a largo, is in A minor and is set in three main voices, with an arpeggio-patterned middle voice at its core. Yes, you may have seen this sort of figuration before, but Fletcher has a great ear for the unexpected harmony in just the right place to stop it from sounding hackneyed. The difficulty factor is moderate, although there is one place where your hands are placing three-note chords right up to fret 18, so a good flexible wrist is a must. It's a harmonious and melodic four minutes or so, and as such can be recommended as a piece that will please players who are a few stages past beginner, because it is a little too hard to get your hands around unless you have decent command up to the higher frets, on the first three strings in particular. "Nightfall" is an adagio in waltz time with a nostalgic melody and almost Victorian ballad's harmonies and a three-voiced structure of bass line, middle voice (usually chordal accompaniment), and melody on top. It never strays away from this general feel, with even the middle theme keeping to the same vein. It closes with a rising melody in whole tones and a gentle close on the E-major tonic. [...] its friendly melodic nature and nice harmonic sounds will win it many friends among intermediate players.'
Chris Dumigan (Classical Guitar Magazine)
